This book analyzes the genesis and evolution of the late Gothic painting in the Crown of Aragon and the Hispanic kingdoms, examining this phenomenon in relation to the whole context of Europe in the ...second half of the fifteenth century.
L’anònim mestre de l’altar de Rímini o mestre de Rímini, actiu durant la primera meitat del segle XV i amb taller segurament localitzat al sud de la regió històrica de Francònia (actual Alemanya), va ...fer una producció escultòrica exclusivament en alabastre que s’exportaria pel continent europeu i que arribaria a indrets tan distants com Clerques (França), Utrecht (Països Baixos), Breslau (Polònia), Rímini i Milà (Itàlia) o Fuerteventura (Espanya). Amb un considerable corpus d’obra conservada, aquí en presentem dues de preservades a Catalunya, l’una al Museu del Cau Ferrat de Sitges i l’altra a l’església de la Pietat d’Igualada, tot analitzant-les acuradament per justificar-ne l’atribució en el cas de la primera i per incorporar la segona, fins ara inèdita, al catàleg de l’artista-taller.
In the last two decades, many detailed full transcriptomic studies on complex biological samples have been published and included in large gene expression repositories. These studies primarily ...provide a bulk expression signal for each sample, including multiple cell-types mixed within the global signal. The cellular heterogeneity in these mixtures does not allow the activity of specific genes in specific cell types to be identified. Therefore, inferring relative cellular composition is a very powerful tool to achieve a more accurate molecular profiling of complex biological samples. In recent decades, computational techniques have been developed to solve this problem by applying deconvolution methods, designed to decompose cell mixtures into their cellular components and calculate the relative proportions of these elements. Some of them only calculate the cell proportions (supervised methods), while other deconvolution algorithms can also identify the gene signatures specific for each cell type (unsupervised methods). In these work, five deconvolution methods (CIBERSORT, FARDEEP, DECONICA, LINSEED and ABIS) were implemented and used to analyze blood and immune cells, and also cancer cells, in complex mixture samples (using three bulk expression datasets). Our study provides three analytical tools (corrplots, cell-signature plots and bar-mixture plots) that allow a thorough comparative analysis of the cell mixture data. The work indicates that CIBERSORT is a robust method optimized for the identification of immune cell-types, but not as efficient in the identification of cancer cells. We also found that LINSEED is a very powerful unsupervised method that provides precise and specific gene signatures for each of the main immune cell types tested: neutrophils and monocytes (of the myeloid lineage), B-cells, NK cells and T-cells (of the lymphoid lineage), and also for cancer cells.
En el presente artículo damos a conocer una obra inédita del pintor Alejo Fernández, activo en Córdoba y Sevilla entre 1497 y 1545. Muestra el Entierro de San Jerónimo y, de acuerdo a diferentes ...evidencias, demostramos que fue uno de los compartimentos del retablo mayor del monasterio de San Jerónimo de Valparaíso (Córdoba). Igualmente, ponemos en relación con la obra diversa documentación que certifica que este importante retablo fue realizado hacia 1503-1508 a instancias de Diego Fernández de Córdoba y Juana Pacheco para presidir la capilla mayor de la iglesia monacal, donde se enterraron junto a otros familiares. Finalmente, trazamos la fortuna posterior del compartimento en cuestión, que se integró en la Galería Española de Luis Felipe, rey de Francia, inaugurada en el Musée du Louvre en 1838.
In this article, it is presented an unpublished work by the painter Alejo Fernández, active in Córdoba and Seville between 1497 and 1545. It shows the Burial of St Jerome and, according to different ...evidences, it belonged to the main altarpiece of the Monastery of San Jerónimo de Valparaíso (Córdoba). Likewise, various documents about the work certify that this important altarpiece was commissioned around 1503-1508 by the patrons Diego Fernández de Córdoba and Juana Pacheco to be installed in the main chapel of the monastic church. In this same place the patrons were buried together with other relatives. Finally, it has been possible to track the fortunes of the painting, which was integrated into the Spanish Gallery of Louis-Philippe, King of France, inaugurated at the Musée du Louvre in 1838.
La redécouverte de la peinture flamande des xve et xvie siècles a suscité, à partir des années 1890, une production à grande échelle de faux Primitifs flamands. Dans certains cas, il s'agit d'œuvres ...réalisées sur un support moderne, dans d'autres, de tableaux anciens restaurés abusivement. Un certain nombre de ces faux Primitifs flamands se sont retrouvés dans des collections espagnoles. Plusieurs ont été reproduits comme des œuvres authentiques, flamandes ou hispano-flamandes, par des auteurs aussi réputés que Chandler Post, Jacques Lavalleye et Elisa Bermejo. Parmi les falsifications inédites étudiées dans le présent article, certaines peuvent être attribuées au restaurateur-faussaire belge Joseph Van der Veken ou au mystérieux 'Faussaire de Valls Marín'.
En el presente artículo se da a conocer un tríptico pseudoflamenco pintado hacia finales del siglo XIX o inicios del XX por Joseph Van der Veken (1872-1964), un restaurador, copista y falsificador de ...Amberes mundialmente conocido por su habilidad en la reproducción de pinturas flamencas. La realización de esta obra se inscribe en el contexto de revaloración de la pintura flamenca de los siglos XV y XVI, que generó una producción a gran escala de falsificaciones debido a la gran demanda existente en el mercado europeo. Estas obras espurias también se comercializaron en España, llegando a introducirse en colecciones importantes y pasando inadvertidas a ojos expertos. En el caso que nos ocupa, el tríptico de Van der Veken, entonces propiedad del coleccionista Francisco de Paula Arróspide Álvarez, XIII Conde de La Revilla, llegó a exhibirse como un original en la Exposición Internacional de Barcelona de 1929.
The arrival of tabernacle-altarpieces in regions under the Crown of Aragon makes up part of a complex context revolving around the evolution of altar furnishings from the late Romanesque to the early ...Gothic period. The late 13th century and first half of the 14th century saw a series of fundamental movements – changes – prior to the verticalization of altarpieces. All of this took place at the same time that specific types of altar furnishing that already existed during the Romanesque, such as those presenting a sculptural image inside a tabernacle, became steeped in new features, and evolved by taking on movable wings at the sides which could be ritually opened up. This lent them a certain theatricality and the ability to conceal and reveal, while also allowing for processes activating the central image presiding over them. These, specifically, are some of the main contributions of tabernacle-altarpieces to the history of Christian altar furnishing. In the Crown of Aragon, this type of furnishing does not appear to have become very widespread, given that we only have documentary evidence of it in Catalonia and Aragon. All the same, the exemplars that have survived respond to models and types that exactly match those found throughout the kingdom of Castile and the rest of Europe, both those presenting sculptural reliefs on their wings and those with pictorial representations. Finally, we should point out that their chronological presence spanned practically the entire Gothic period, from the early Linear Gothic years until well into the 15th century.
The aim of this study was to evaluate extra-virgin olive oil (EVOO) moisture and phenolic compounds content during industrial filtration, which is widely applied in the most olive-oil industries of ...the main producing countries of the Mediterranean as a final step prior to selling the oil. For this purpose, conventional filtration process was performed in duplicate using two lots (lot 1 and lot 2), for a total amount of 45,000kg of EVOO each. The EVOOs were from the main Spanish olive varieties (Hojiblanca, Manzanilla, Picual, and Arbequina). Cloudy EVOOs were filtered using Vitacel® L-90 and Filtracel® EFC-950 as filter aids together with filtration tank. The moisture content was determined in unfiltered and filtered EVOOs. In addition, the individual phenolic compounds were qualitatively and quantitatively characterized by HPLC–ESI-TOF/MS. The results clearly showed that filtration sharply decreased moisture. Nevertheless, the time course of phenolic compounds during filtration differed for each family. Whereas phenolic alcohols and flavones decreased during filtration, secoiridoids tended to increase, while lignans were the least affected group. Although filtration can make EVOO brilliant and can increase its shelf life by reducing its moisture content, filtration sacrifices certain phenolic compounds which could affect EVOO oxidative stability and its nutritional quality. Consequently, to maintain olive-oil quality, producers need to take into account both moisture loss as well as the antioxidant content during EVOO filtration.
•EVOO moisture content and phenolic compounds have been monitored during filtration.•Conventional filtration system was performed at industrial scale.•Vitacel® L-90 and Filtracel® EFC-950 were used as filter aids.•Filtration diminishes the EVOO antioxidant content, mainly phenolic alcohols.•A balance between losing water and antioxidants is necessary to obtain high quality.
L’anònim mestre de l’altar de Rímini o mestre de Rímini, actiu durant la primera meitat del segle XV i amb taller segurament localitzat al sud de la regió històrica de Francònia (actual Alemanya), va ...fer una producció escultòrica exclusivament en alabastre que s’exportaria pel continent europeu i que arribaria a indrets tan distants com Clerques (França), Utrecht (Països Baixos), Breslau (Polònia), Rímini i Milà (Itàlia) o Fuerteventura (Espanya). Amb un considerable corpus d’obra conservada, aquí en presentem dues de preservades a Catalunya, l’una al Museu del Cau Ferrat de Sitges i l’altra a l’església de la Pietat d’Igualada, tot analitzant-les acuradament per justificar-ne l’atribució en el cas de la primera i per incorporar la segona, fins ara inèdita, al catàleg de l’artista-taller.
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